'Lyrically the project is very therapeutic': Moaning's Sean Solomon gets personal
- Arusa Qureshi
- 12 April 2018
We talk to singer and guitarist Sean Solomon of the LA post-punk three-piece creating a buzz with their angsty and impassioned sound
It was at last year's SXSW in Austin, Texas, that LA band Moaning were first spotted by the cultural behemoths that are Sub Pop. Just one month after that storming set, they were snapped up by the label and, since then, the trio seem to have been on an upward trajectory of releases, shows and plenty of buzz. Sean Solomon, Pascal Stevenson, and Andrew MacKelvie may have known each other through LA's DIY music scene for over a decade but Moaning represents something new for the longtime collaborators.
'We've had access to tons of DIY and all-ages venues growing up,' singer and guitarist Solomon says. 'That helped us have the chance to experiment live at an early age and meet a ton of great musicians. But Moaning is our most mature project; it was a lot more thought out and conceptual. The other bands we started as teenagers and we were still learning a lot.'
Their recently released self-titled debut album demonstrates this maturity, radiating raw post-punk energy and brooding shoegazey vibes. 'I was interested in the duality of the name.' Solomon explains, when asked about the band's mission statement. 'Love and pain are easily mixed up and related to each other. I think the sound plays with that. It's sort of bipolar. It's a very personal record but I hope people relate to it in their own individual ways.'
The first song that Solomon wrote for the project was frenetic album opener 'Don't Go'. 'We all help write the music together now,' he continues 'but lyrically the project is very therapeutic for me and helps me work out problems I'm having. This first album is sort of a thesis statement based around the band name.' Solomon's early recordings may have represented emotions that were specific to him at that time, but with the addition of MacKelvie's rough and ready drumming and Stevenson's husky bass lines, these recordings soon became rich and comprehensive articulations of each member's personality. The end result, with its experimental soundscapes and murky aesthetic, is illustrative of their unique characteristics as well as their synchronicity as a band.